Damiano Michieletto has been prominent on European stages for two decades, known for contemporary reconsiderations that at times cause controversy.
Bastille's front section alongside his production colleagues, watching opening night of Massenet’s rarely performed “Don Quichotte.”
Michieletto’s version of the 114-year-old “Quichotte” portrayed the title character, based on Miguel de Cervantes’ Don Quijote, as stricken with memory lapses, traipsing a 1960s pastel green room while popping pills and swigging amber-colored liquor. “It’s a man who is obsessed with the composition of a book,” Michieletto said. “He’s a writer, and it’s a mix of reality with his dreams, with his fantasy and in the memory there are traumatic episodes.”“He’s always open for discussion. I think Damiano is fine with best idea wins,” Van Horn said. “Some directors don’t really care for your opinion, He does. He listens and he takes it.”
Michieletto gained attention with Jaromír Weinberger’s “Svanda the Bagpiper” at the 2003 Wexford Festival in Ireland and “La Gazza Ladra” at the 2007 Rossini Festival in Pesaro, Italy. Their partnership created Mozart’s “Così fan tutte” set in a hotel inspired by Sofia Coppola’s film “Lost in Translation,", Verdi’s “Un Ballo in Machera” as a modern political rally and Saint-Saëns’ “Samson et Dalila” in which the cast began in contemporary costumes and changed for the bacchanale into attire inspired by Luchino Visconti’s movie “La caduta degli dei .
“Opera, theater, art is point of view, and it is normal that maybe sometimes we have not the same point of view,” Fantin said. “In London it was a scandal, in Italy it was a success. It is not in every theater the same.”Met general manager Peter Gelb“I have been following his work with interest for more than 10 years, Gelb said. “I think he’s very talented and hopefully the right combination of opera and talent will come together for the Met at some point.
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